T E C H N I C A L D AT A

AGFA
-1 RANGE OF FILMS
400 P R O F E S S I O N A L
500

In professional photography and creative imaging the

main considerations are quality, continuity and
individuality. For these reasons the films for this area are
measured by special standards. A film only satisfies these
high standards if its performance is above-average. And
it will only be accepted if it achieves this performance
with extreme accuracy, consistency and with the maximum
reliability. The wide range of professional applications
calls for a correspondingly wide range of different
emulsions, whose characteristics must be designed
exactly for specific areas of use.
Agfa Professional films are specified to satisfy these
exceptional standards. They combine the maximum
quality with maximum reliability: optimum colour saturation
and tonal definition, exact contrast ranges, exemplary
grey balance, the finest detail rendition in the critical
highlight and shadow areas, extreme sharpness and fine
granularity, and unproblematic short- and long-time
features.
Two examples of extremely tight production tolerances:
speed: ± 0.5 DIN = ± 1/6 stop
colour balance: ± 5 CC filter units

1
ISO 9002 quality certificate The Agfa Professional black and white films

Since 1992 the photo-chemical production department of Agfa- • AGFAPAN APX 25 PROFESSIONAL
Gevaert AG has possessed the ISO 9002 certificate for its • AGFAPAN APX 100 PROFESSIONAL
quality management system, as awarded by Lloyd’s Register • AGFAPAN APX 400 PROFESSIONAL
for Quality Assurance Ltd. (LRQA), London. • AGFA SCALA 200x PROFESSIONAL
The ISO 9002 standard defines the principles of quality Processing of AGFA SCALA 200x in the special SCALA
assurance, including concepts and criteria for customer-based process (in authorised SCALA labs only, see Technical Data
quality planning, specifications for each stage of production, P-12-F).
and also systems for error prevention and for the continuous
enhancement of production techniques.
Comprehensive documentation of all the tests and their regular
Information on the performance characteristics
monitoring by internal and external auditors ensures that the of Agfa Professional films
product quality is consistently based on objectively defined
criteria, and conforms at all times to a reproducible standard. Sensitivity (speed)
The sensitivity of a film is measured with a densitometer. It is
Agfa Professional film range related to a defined exposure time of 1/100 s for daylight films.
Agfa Professional films are available with the speed ratings The figure given on the pack applies however to the exposure
required by professional practice: from the slow film (ISO15/ time range of 1 s to 1/10 000 s. Absolutely no sensitivity
25° – ISO 100/21°) through the medium (ISO 160/23° – ISO deviations occur with any Agfa films within this range.
200/24°) to the fast (ISO 400/27°) film.
Slow films are characterised by outstanding colour rendition, Reciprocity effect
fine granularity and sharpness, and are especially suitable for Bunsen and Roscoe’s reciprocity law states that the results
subjects in which the finest detail resolution is required. These will be the same for an exposure with high light intensity and
are also the best films for giant enlargement or projection. short exposure time, or with low light intensity and long
Medium-rated films are ideal for all-round use due to their exposure time. In the range of extremely long or extremely
balanced performance which combines sensitivity, colour short exposure times however the relative sensitivity falls.
rendition, sharpness and granularity. This phenomenon is termed the reciprocity or Schwarzschild
Fast films create brilliant colours and high image quality, even effect. The three part-colour layers on colour films may behave
in poor lighting and with fast-moving subjects. differently, with the result that the colour balance is also
affected.
Agfacolour Professional negative films This effect can be corrected by suitable camera correction
The range permits a choice between different colour satu- filters for Agfacolor reversal films, and by suitable printing
rations, so that the user can determine the intensity of colour filtration for colour negative films. The reciprocity effect with
of the prints before shooting. Agfa Professional films is reduced to a minimum by special
technical features. The correction figures are given in the
Colour saturation product specifications.

High Extremely high Restrained Sensitisation

OPTIMA II 100 ULTRA 50 PORTRAIT XPS 160
The spectral sensitivity of Agfa colour negative, colour reversal
OPTIMA II 200 and black and white Professional films covers the entire range
of visible light radiation.
OPTIMA II 400

Colour balance
Films with specific colour saturation
Daylight has a completely different colour temperature to the
AGFACOLOR PORTRAIT XPS 160 PROFESSIONAL artificial light produced by the halogen and incandescent lamps
A film specially conceived for portrait photography, with soft common in practice. (An exception is formed by the halogen
colour typification, extremely fine granularity and superb skin metal vapour lamps with daylight characteristics, e.g. Osram
tone rendition. Due to its restrained saturation and flat contrast, HMI and Philips MSR lights for professional use.)
it is ideally suited for toning down rich colours and high Colour films detect variations in the colour temperature much
contrasts. more accurately than the human eye, which receives an overall
AGFACOLOR ULTRA 50 PROFESSIONAL colour impression and largely balances the differences. For
This film features extremely high colour saturation for high- this reason colour films have to be sensitised to a certain kind
key colour effects and the enrichment of pale colours. The of subject light, i.e. depending on the film type a particular
colours of low-contrast subjects (haze or fog) are intensified. colour temperature is fixed as the so-called colourless point
during manufacture.
The Agfachrome Professional reversal films
All the AGFACOLOR and AGFACHROME Professional films
• AGFACHROME RSX II 50 PROFESSIONAL are matched to daylight , and are designed for the spectral
• AGFACHROME RSX II 100 PROFESSIONAL radiation of mixed sunlight (colour temperature approx. 5500
• AGFACHROME RSX II 200 PROFESSIONAL Kelvin). Photography in this type of light does not require

2
filtration, i.e. the results with all the films have an even, neutral Mixed light
colour balance. When you take pictures with different light sources, special
If however the colour temperature of the subject light varies attention must be paid to the colour temperature of the main
distinctly, this has to be counteracted for colour reversal films light source for the correction filtration. The precise colour
by camera correction filters, which prevent colour casts. rendition and – if required – specific colour temperature effects
Colour temperature Filter colour should definitely be found with test shots.

too high (> 5 500 K) yellow-red

Other filters
too low (< 5 500 K) blue
The exposure must also be adjusted depending on the filter UV-blocking filter
strength. Films are also sensitive to the UV content of daylight. UV-
blocking filters are therefore often used to prevent colour shifts
Light sources and filters and unsharpness. This is unnecessary for all the Agfa Profes-
sional colour films, because a UV-blocking layer is already
Daylight incorporated in the emulsion. An extra filter is nevertheless
useful to protect the lens against physical damage.
Practical correction examples Filter Correction
High colour temperature, e. g. 5700 K Polarisation filter
Landscapes, portraits with cloudy sky, 81 A + 1/
3 stop This filter is used firstly to cut down reflections, e.g. from glass
cloudless mountainscapes or water (not metal), and secondly to create special effects
(e.g. more vivid sky blue). A certain lengthening factor must be
Low colour temperature, e. g. 5 300 K applied to the exposure, depending on the filter type (see the
Landscapes, portraits at dawn or dusk 82 A + 1/3 stop instructions for use of the camera or filter).

Filters for black and white photography

Artificial light
All the correction and contrast filters standard in black and
Agfa Professional films can also be used in artificial light with white photography can be used with AGFAPAN films.
suitable filtration. Examples
Light source Filter Exposure correction Yellow filter To heighten cloud contrast
(f-stops)
Orange filter For clear long-distance views
Photo lamps 3 400 K 80 B + 1 2/3
Red filter To “dramatise” an atmosphere
Photo lamps 3 200 K 80 A +2
To compensate for the loss in speed caused by these filters,
Electronic flash the manufacturer’s lengthening factors must be applied. Fil-
ters for black and white films are not suitable for colour
Electronic flash frequently works with a colour temperature of photography. They cause strong colour shifts.
5500 K (average daylight). There are however equipment and
applications for which the flash tube colour temperature varies
from this average figure. In these cases a test is advisable. Storage of unprocessed films
Bear in mind that with longer exposure times the electronic
High temperatures and high atmospheric humidity can impair
flash light can be influenced by any other light sources present,
the photographic characteristics of a film material, in particular
so that a mixed-light situation is created.
its speed and colour balance. Harmful fumes such as formalin
Fluorescent tubes or other fumes given off mainly by glues or cosmetics should
definitely be avoided. Films are best stored in the original
The spectral distribution of radiation of fluorescent light tubes pack, because this protects them against humidity and fumes.
varies quite considerably according to manufacturer, lamp Storage in a refrigerator (below +10 °C / 50 °F) or in a deep
type and lamp age. Exact filter information is therefore not freezer (below 0 °C / 32 °F) is an effective way of stabilising
possible. To ensure optimum colour rendition in spite of this, films’ photographic properties for a very long time. However
test shots are advisable. wait long enough for the film to come up to room temperature
The following correction figures can only serve as guides for after it has been taken out of refrigeration, since otherwise
the right filtration in practice, and apply to colour reversal condensation can form on the cold material. (Recommended
films. They are based on results gained by experience. However acclimatisation time: with refrigerator approx. 2 hours, with
the exposure times can be lengthened so much by the filtration deep freezer approx. 8 hours).
that a further correction is necessary, due to the reciprocity Cameras do not provide sufficient protection against these
effect. harmful effects. It is therefore advisable to keep a camera
Fluorescent Filter Exposure correction cool, dry and airtight when a film is loaded (if necessary in a
lamp type (f-stops) polyethylene bag).
Daylight (D) 50 R +1 Once a film has been exposed, the above precautions for
White (W) 40 M + 2/3 unexposed films are even more important. Exposed films should
be kept cool and dry, or even better processed as soon as
Cold-white (KW) 20 C + 40 M +1
possible after exposure. This ensures that these effects have
Warm-white 40 M + 10 Y +1
no time to take place.

3
Directions for X-ray inspections Retouching
The basic rule is that films are sensitive to X-rays, and this In portrait photography and in some other areas as well, the
sensitivity increases with the film’s sensitivity. The X-ray retouching of processed film material is common. The film
inspection equipment used on many airports marked “Film types suitable for this treatment incorporate a retouchable
Safe” does not affect films under normal circumstances. back (only roll film and sheet film), i.e. they are suitable for
Nevertheless, for safety’s sake films should not be handed in pencil and liquid retouching (retouching paints). Only the
as luggage but kept in hand luggage. In cases of doubt a AGFACHROME XPS 160 roll film has a retouchable emulsion.
visual inspection is preferable.
Evaluating slides
Storage of processed films The colour balance of AGFACHROME Professional films is
The same precautions apply to processed films: designed for the viewing light specified in ISO 3664. The main
• under 25° C features of this standard:
• 30 to 60 % relative humidity • colour temperature 5000 K
• protected from fumes • mean luminance 1400 cd/m2
• darkness • uniformity of luminance at least 75 %
Comparisons should be made in principle on one and the
Processing same light box, because there may be considerable variations
in light colour and intensity between different boxes.
Film type Process Compatible Process
with process data sheet
Use of slide films in scanners
AGFACOLOR- P-70-C, All AGFACHROME Professional films are reprographically
negative films AP 70 C-41 P-71/72-C compatible. The high-grade photographic characteristics of
this material are therefore transferred completely, even if only
AGFACHROME the standard scanner setting is used.
slide films AP 44 E-6 P-44-C
AGFAPAN For developing methods, types
BW films etc. see data sheet P-16-C Specific information on the product
AGFA Special SCALA process in The charts and figures shown on page 6 to 11 are briefly
SCALA 200x authorised SCALA labs only P-12-F explained below, and the conditions of measurement are also
BW slide film described. All the figures are averages of various production
runs. For some emulsion batches they may vary slightly from
The Technical Data sheets listed contain detailed information each other, in spite of the very tightly maintained tolerances.
on the processing of the relevant films.
Spectral sensitivities
The chart indicates the colour sensitivity of an unprocessed film.
Pushed/pulled processing of slide films
Reference: – equal-energy spectrum
If the first development time is changed, the photographic
Reading density: – 1.0 above minimum density
speed also changes. Lengthening the time leads to an increase
in speed (so-called pushing), shortening the time reduces it Absorption of the emulsion dyes
(pulling). This is a correction method often used in professio-
nal photography, with the aim of a fine adjustment of the The chart indicates the relative effect of a processed film on
colour density or a deliberate change in speed. transmitted light. For colour negative films this is a measure
for the spectral sensitisation of the following printing material,
The AGFACHROME RSX II Professional films feature exceptio-
for colour slide films it is a measure for the viewer’s eye under
nally good push/pull stability. Up to a speed adjustment of ± 1
defined standard light conditions.
stop (1), the neutrality of colour rendition is preserved in full.
Even an increase in speed of up to two stops only has a very Reference: – neutral subject with medium brightness
slight effect on the colour balance. – minimum density
The SCALA 200x permits pushing/pulling from ISO 100/21° to Colour density curves
ISO 1600/33° (see Technical Data P-12-F).
The chart indicates the dye densities of a processed film in
relation to the exposure.
Further processing
Reference: – exposure: daylight 1/100 second
Evaluating negatives – process: AP 70/C-41 and AP 44/E-6
– densitometry: Status A and Status M
Negatives of colour and black and white films can be appraised
in basically the same way. The most important criterion is the Sharpness
shadow area. Thin coverage in comparison to the mask This is an MTF (Modulation Transfer Function) chart, which
coloration should be apparent on colour negatives. indicates the image sharpness. The higher the transfer factor
in %, the lower the transfer losses are.
Reference: – exposure: daylight
– densitometry: visual filter (Vλ)

4
Granularity Film identification
Granularity is the irrregular density structure of an exposed
and processed area of film. The figure is based on the RMS Process colour coding on 35 mm films
(root-mean-square) measuring method. The smaller the figure
Margin bars on the cartridge
is, the finer grain the film has. The RMS measuring method is
intended to match an instrumentally found figure with the visu- • red Process AP 70/C-41
al perception of the film granularity. • blue Process AP 44/E-6
Reference: – exposure: daylight • grey BW negative processing
– densitometry: visual filter (Vλ)
– measurement: diffuse density 1,0; Process colour coding on roll films
48 µm reading aperture
Overprint at end of backing paper
Resolving power
• yellow Process AP 70/C-41
This is given as a figure in the appendix. It indicates the • blue Process AP 44/E-6
resolution limit in the rendition of adjacent finest details (e.g. • black BW negative processing
lines in a matrix).
The resolving power is a purely visual criterion, which is greatly Exposed margin marks
influenced by the contrast range.
Reference: lines per mm at contrast range 1.6 : 1 or 1000 : 1 1. Film type + emulsion number
2. Frame numbering
Layer design of OPTIMA II 100
The continuous further development of coating technology
• On 35 mm films after 2 blank exposures continuous
frame numbering starting with "1" and "1A" up to 12A,
permits thinner, and simultaneously more layers. The thinner
24A or 36A
layers enhance the sharpness, and the extra layers have
separating, blocking, protecting and filtering functions. They • On roll films continuous double-sided frame numbering
optimise not only the colour rendition, but also the sharpness from 1-12 or 41-61 (120 roll film), or 1-25 or 41-83 (220
and storage life as well. A schematic representation is shown roll film).
on right, taking the OPTIMA II 100 as an example. 3. Symbol marks on colour negative films
Symbols are exposed on to 35 mm and roll films to identify
Supercoat the film generation. Details are given in the appendix.
UV filter layer Marking on OPTIMA II films: red squares (see table).

Blue-sensitive yellow layers Marking on OPTIMA II negative films

Yellow filter layer 135/120/220
AGFACOLOR OPTIMA II 100 2
Green-sensitive magenta layers
AGFACOLOR OPTIMA II 200 2
AGFACOLOR OPTIMA II 400 1
Red filter layer

Red-sensitive cyan layers

Anti-halo layer

Base

Total layer thickness (without base): 16 µ m

(Other films: see pages 7 to 10.)

Emulsion base
The film base is made of acetyl cellulose or polyester. The
type and thickness of the base are given on pages 7 to 10.

5
Notch coding on sheet films
The film type can be identified from the type of notching. The
emulsion side is facing the viewer when the notching in upright
format is at top right.

AGFACOLOR OPTIMA II 100

AGFACHROME RSX II 100

AGFAPAN APX 100

AGFA SCALA 200x

Appendix: Characteristic values and curves of the various films

Reciprocity effect
AGFACOLOR negative films AGFACOLOR AGFACOLOR AGFACOLOR
OPTIMA II 100 OPTIMA II 200 OPTIMA II 400
Exposure reading (seconds) 1/10 000 –1 10 100 1/10 000 – 1 10 100 1/10 000 –1 10 100
Exposure adjustment (f-stops) 0 +½ + 1½ 0 +1 +2 0 +1 +2

AGFACOLOR negative films AGFACOLOR AGFACOLOR

PORTRAIT XPS 160 ULTRA 50
Exposure reading (seconds) 1/10 000 –1 10 100 1/10 000 – 1 10 100
Exposure adjustment (f-stops) 0 +1 +2 0 +1 +2

AGFACHROME slide films AGFACHROME AGFACHROME AGFACHROME

RSX II 50 RSX II 100 RSX II 200
Exposure reading (seconds) 1/10 000 –1 10 100 1/10 000 – 1 10 100 1/10 000 –1 10 100
Exposure adjustment (f-stops) 0 +½ +1 0 +½ +1 0 +1 +2
Filtration (CC filter) 0 05 B 10 B 0 05 B 10 B 0 075 Y 15 Y 05 C

AGFA black and white slide film AGFA SCALA 200x

Exposure reading (seconds) 1/10 000 - ½ 1 10 100
Exposure adjustment (f-stops) 0 +½ +1 +2

AGFAPAN negative films AGFAPAN AGFAPAN AGFAPAN

APX 25 APX 100 APX 400
Exposure reading (seconds) 1/10 000 - ½ 1 10 100 1/10 000 - ½ 1 10 100 1/10 000 - ½ 1 10 100
Exposure adjustment (f-stops) 0 +½ +1 +2 0 +1 +2 +3 0 +1 +2 +3
Developing adjustment (%) 0 0 0 0 0 – 10 – 25 – 35 0 – 10 – 25 – 35

6
AGFACOLOR OPTIMA II 100 AGFACOLOR OPTIMA II 200 AGFACOLOR OPTIMA II 400
Spectral sensitivity Spectral sensitivity Spectral sensitivity
→ lg Sensitivity

→ lg Sensitivity

→ lg Sensitivity
2.0 2.0 2.0

1.0 Blue Green Red 1.0 1.0

Blue Green Red Blue Green Red

0 0 0

400 500 600 700 400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm) → Wavelength (nm)

Spectral density Spectral density Spectral density

2.0 2.0 2.0
→ Spectral density

→ Spectral density

→ Spectral density
Medium density Medium density
Medium density
1.0 1.0 1.0

Minimum density Minimum density

Minimum density

0 0 0
400 500 600 700 400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm) → Wavelength (nm)

Sharpness Sharpness Sharpness

150 150 150
→ Transfer factor (%)

→ Transfer factor (%)

→ Transfer factor (%)

100 100 100

50 50 50

30 30 30

20 20 20

10 10 10
2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100
→ Lines (mm) → Lines (mm) → Lines (mm)

Colour density curves Colour density curves Colour density curves

4.0 4.0 4.0
→ Density

→ Density

→ Density

Blue Blue Blue

3.0 3.0 3.0
Green Green
Green

2.0 2.0 Red 2.0 Red

Red

1.0 1.0 1.0

0 0 0
–4.0 –3.0 –2.0 –1.0 0 +1.0 –4.0 –3.0 –2.0 –1.0 0 +1.0 –4.0 –3.0 –2.0 –1.0 0
→ lg exposure (Lx · s) → lg exposure (Lx · s) → lg exposure (Lx · s)

Speed: ISO 100/21° Speed: ISO 200/24° Speed: ISO 400/27°

Granularity (x 1000): RMS 4.0 Granularity (x 1000): RMS 4.5 Granularity (x 1000): RMS 4.5
Resolving power: Resolving power: Resolving power:
Contrast 1000 : 1 140 lines/mm Contrast 1000 : 1 130 lines/mm Contrast 1000 : 1 130 lines/mm
Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 50 lines/mm
Layer thickness: 16 µ m Layer thickness: 18 µ m Layer thickness: 19 µ m
Film base: 135 = 120 µ m Film base: 135 = 120 µ m Film base: 135 = 120 µ m
120 = 95 µ
µm 120 = 95 µ
µm 120/220 = 95 µ
µm
sheet film = PET 175 µ
µm

7
AGFACOLOR PORTRAIT XPS 160 AGFACOLOR ULTRA 50 AGFACHROME RSX II 50
Spectral sensitivity Spectral sensitivity Spectral sensitivity
2.0 2.0 2.0
→ lg Sensitivity

→ lg Sensitivity

→ lg Sensitivity
1.0 1.0 1.0

Blue Green Red Blue Green Red

Blue Green Red
0 0 0

-01.0 -1.0 –1.0

400 500 600 700 400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm) → Wavelength (nm)

Spectral density Spectral density Spectral density

2.0 2.0 1.5
→ Spectral density

→ Spectral density

→ Spectral density
Visual grey

1.0
Medium density
1.0 Medium density 1.0
Yellow Magenta Cyan
0.5
Minimum density
Minimum density
0 0 0
400 500 600 700 400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm) → Wavelength (nm)

Sharpness Sharpness Sharpness

150 150 150
→ Transfer factor (%)

→ Transfer factor (%)

→ Transfer factor (%)

100 100 100

50 50 50

30 30 30

20 20 20

10 10 10
2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100
→ Lines (mm) → Lines (mm) → Lines (mm)

Colour density curves Colour density curves Colour density curves

4.0 4.0 4.0
→ Density
→ Density

→ Density

Green
Red
Blue Blue
3.0 3.0 Green 3.0
Blue
Red
Green

2.0 Red 2.0 2.0

1.0 1.0 1.0

0 0 0
–3.0 –2.0 –1.0 0 +1.0 –3.0 –2.0 –1.0 0 +1.0 –3.0 –2.0 –1.0 0 +1.0 +2.0
→ lg exposure (Lx · s) → lg exposure (Lx · s) → lg exposure (Lx · s)

Speed: ISO 160/23° Speed: ISO 50/18° Speed: ISO 50/18°

Granularity (x 1000): RMS 3.5 Granularity (x 1000): RMS 4.3 Granularity (x 1000): RMS 10.0
Resolving power: Resolving power: Resolving power:
Contrast 1000 : 1 150 lines/mm Contrast 1000 : 1 140 lines/mm Contrast 1000 : 1 125 lines/mm
Contrast 1.6 : 1 60 lines/mm Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 55 lines/mm
Layer thickness: 18 µ m Layer thickness: 27 µ m Layer thickness: 25 µ m
Film base: 135 = 120 µ m Film base: 135 = 120 µ m Film base: 135 = 120 µ m
120/220 = 95 µ
µm 120 = 95 µ
µm 120 = 95 µ
µm

8
AGFACHROME RSX II 100 AGFACHROME RSX II 200 AGFA SCALA 200x
Spectral sensitivity Spectral sensitivity Spectral sensitivity
2.0 2.0 2.0

→ lg Sensitivity
→ lg Sensitivity

→ lg Sensitivity
1.0 1.0 1.0

Blue Green Red Blue Green Red

0 0 0

–1.0 –1.0 –1.0

400 500 600 700 400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm) → Wavelength (nm)

Spectral density Spectral density Sharpness

1.5 1.5 150

→ Transfer factor (%)

→ Spectral density

→ Spectral density
Visual grey Visual grey
100
1.0 1.0

50
Yellow Magenta Cyan Yellow Magenta Cyan
0.5 0.5
30

0 0 20
400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm)
10
2 3 5 10 20 30 50 100
Sharpness Sharpness → Lines (mm)

150 150
→ Transfer factor (%)

→ Transfer factor (%)

100 100 Density curves

→ Density
50 50 Pull 1
3.0 Standard
Push 1
30 30 Push 2
Push 3
2.0
20 20

1.0
10 10
2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100
→ Lines (mm) → Lines (mm)
0
–3.0 –2.0 –1.0 0 +1.0 +2.0 +3.0
→ lg exposure (Lx · s)
Colour density curves Colour density curves
4.0 4.0
→ Density

→ Density

Green
Blue
Red
Red
Blue
Push/pull behaviour
3.0 3.0
Green Step Push 1 Push 2 Push 3 Pull 1
2.0 2.0 Speed
(ISO) 400/27° 800/30° 1600/33° 100/21°

Contrast increasingly steeper flatter

1.0 1.0
Maximum decreasing in-
density creasing
0 0
–3.0 –2.0 –1.0 0 +1.0 +2.0 –3.0 –2.0 –1.0 0 +1.0 +2.0
→ lg exposure (Lx · s) → lg exposure (Lx · s) Granularity increasingly coarse-grained finer

Speed: ISO 100/21° Speed: ISO 200/24° Speed (standard): ISO 200/24°
Granularity (x 1000): RMS 10.0 Granularity (x 1000): RMS 12.0 Granularity (x 1000): RMS 11.0
Resolving power: Resolving power: Resolving power (reference: ISO 200/24°)
Contrast 1000 : 1 125 lines/mm Contrast 1000 : 1 110 lines/mm Contrast 1000 : 1 120 lines/mm
Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 50 lines/mm
Layer thickness: 25 µ m Layer thickness: 27 µ m Layer thickness: 7 µm
Film base: 135 = 120 µ m Film base: 135 = 120 µ m Film base: 135 = 120 µ m
120 = 95 µ
µm 120/220 = 95 µ
µm 120 = 95 µ
µm
sheet film = Acetate 190 µ
µm sheet film = PET 175 µ
µm

9
AGFAPAN APX 25 AGFAPAN APX 100 AGFAPAN APX 400
Spectral sensitivity Spectral sensitivity Spectral sensitivity
1.0 2.0 2.0
→ lg Sensitivity

→ lg Sensitivity

→ lg Sensitivity
0 1.0 1.0

–1.0 0 0

–2.0 –1.0 –1.0

400 500 600 700 400 500 600 700 400 500 600 700
→ Wavelength (nm) → Wavelength (nm) → Wavelength (nm)

Characteristic curve Characteristic curve Characteristic curve

3.0 3.0 3.0
→ Density

→ Density

→ Density
2.0 2.0 2.0

1.0 1.0 1.0

0 0 0
–4.0 –3.0 –2.0 –1.0 0 +1.0 +2.0 –4.0 –3.0 –2.0 –1.0 0 +1.0 +2.0 –4.0 –3.0 –2.0 –1.0 0 +1.0 +2.0
→ lg exposure (Lx · s) → lg exposure (Lx · s) → lg exposure (Lx · s)

Sharpness Sharpness Sharpness

150 150 150
→ Transfer factor (%)

→ Transfer factor (%)

→ Transfer factor (%)

100 100 100

50 50 50

30 30 30

20 20 20

10 10 10
2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100 2 3 5 10 20 30 50 100
→ Lines (mm) → Lines (mm) → Lines (mm)

Gamma-time curves Gamma-time curves Gamma-time curves

0.75 0.75 0.75
→ Negative contrast (γ)
→ Negative contrast (γ)

→ Negative contrast (γ)

RODINAL SPECIAL REFINAL RODINAL SPECIAL REFINAL RODINAL SPECIAL REFINAL RODINAL 1+25
STUDIONAL LIQUID STUDIONAL LIQUID STUDIONAL LIQUID
RODINAL 1+25 RODINAL 1+25
0.70 0.70 0.70
RODINAL 1+50

RODINAL 1+50
0.65 0.65 0.65

RODINAL 1+50
0.60 0.60 0.60

0.55 0.55 0.55

2 4 6 8 10 12 14 16 18 2 4 6 8 10 12 14 16 18 2 4 6 8 10 12 14 16 18

→ Developing time (min.) → Developing time (min.) → Developing time (min.)

Speed: ISO 25/15° Speed: ISO 100/21° Speed: ISO 400/27°

Granularity (x 1000): RMS 7.0 Granularity (x 1000): RMS 9.0 Granularity (x 1000): RMS 14.0
(REFINAL, 6 min, 20°C) (REFINAL, 6 min, 20°C) (REFINAL, 6 min, 20°C)

Resolving power: Resolving power: Resolving power:

Contrast 1000 : 1 200 lines/mm Contrast 1000 : 1 150 lines/mm Contrast 1000 : 1 110 lines/mm
Layer thickness: 3 µm Layer thickness: 7 µm Layer thickness: 10 µ m
Film base: 135 = 120 µ m Film base: 135 = 120 µ m Film base: 135 = 120 µ m
120 = 95 µ
µm 120 = 95 µ
µm 120 = 95 µ
µm

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Processing AGFAPAN APX 25 Processing AGFAPAN APX 100 Processing AGFAPAN APX 400

Developer Developing time in min. Developer Developing time in min. Developer Developing time in min.
18 °C 20 °C 22 °C 24 °C 18 °C 20 °C 22 °C 24 °C 18 °C 20 °C 22 °C 24 °C
Processing in trays Processing in trays Processing in trays
REFINAL 8 6 4½ 4 REFINAL 8 6 4½ 4 REFINAL 8 6 4½ 4
RODINAL 1 + 25 7 6 5 4 RODINAL 1 + 25 10 8 6 5 RODINAL 1 + 25 8 7 5½ 4
RODINAL 1 + 50 12 10 9 8 RODINAL 1 + 50 20 17 14 12 RODINAL 1 + 50 13 11 9 8
RODINAL SPECIAL 4½ 4 3 – RODINAL SPECIAL 5 4 3 – RODINAL SPECIAL 5 4½ 3½ 3
STUDIONAL LIQUID 4½ 4 3 – STUDIONAL LIQUID 5 4 3 – STUDIONAL LIQUID 5 4½ 3½ 3
Processing in drums Processing in drums Processing in drums
REFINAL 8 5 4 3½ REFINAL 8 5 4 3½ REFINAL 6 5 4 3½
RODINAL 1 + 25 5 4 3½ 3 RODINAL 1 + 25 8½ 7 6 5 RODINAL 1 + 25 7 5 4 3½
RODINAL 1 + 50 11 9 8 7 RODINAL 1 + 50 18 14 12 10 RODINAL 1 + 50 11 9 8 7
RODINAL SPECIAL 3½ 3 – – RODINAL SPECIAL 4 3½ 3 – RODINAL SPECIAL 5 4 3½ 3
STUDIONAL LIQUID 3½ 3 – – STUDIONAL LIQUID 4 3½ 3 – STUDIONAL LIQUID 5 4 3½ 3
Processing in tanks Processing in tanks Processing in tanks
ATOMAL FF 10 8 6 5 ATOMAL FF 10 8 6 5 ATOMAL FF 10 8 6 5
REFINAL 9 7 5 4 REFINAL 9 7 5 4 REFINAL 9 7 5 4

Exposure index AGFAPAN APX 25 Exposure index AGFAPAN APX 100 Exposure index AGFAPAN APX 400
Developer Time* Speed Developer Time* Speed Developer Time* Speed
REFINAL 6 min. ISO 25/15° REFINAL 6 min. ISO 125/22° REFINAL 6 min. ISO 400/27°
RODINAL 1 + 25 6 min. ISO 20/14° RODINAL 1 + 25 8 min. ISO 100/21° RODINAL 1 + 25 7 min. ISO 320/26°
RODINAL 1 + 50 10 min. ISO 25/15° RODINAL 1 + 50 17 min. ISO 125/22° RODINAL 1 + 50 11 min. ISO 320/26°
RODINAL SPECIAL 4 min. ISO 25/15° RODINAL SPECIAL 4 min. ISO 125/22° RODINAL SPECIAL 4 ½ min. ISO 400/27°
STUDIONAL LIQUID 4 min. ISO 25/15° STUDIONAL LIQUID 4 min. ISO 125/22° STUDIONAL LIQUID 4 ½ min. ISO 400/27°
*) Processing in small tank at 20 °C *) Processing in small tank at 20 °C *) Processing in small tank at 20 °C

Further processing details are given in the Technical Data P-16-C.

Note
The information given here is based on the evaluation of typical products at the time of printing. Slight deviations are possible due
to production tolerances. Agfa-Gevaert constantly endeavours to improve product quality, and therefore reserves the right to
alter the product specifications without notice.

Agfa, the Agfa Rhombus, AGFACHROME, AGFACOLOR, AGFAPAN, REFINAL, RODINAL, SCALA and STUDIONAL are registered
trademarks of Agfa-Gevaert AG, Leverkusen, Germany.

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 Summary of the Agfa Professional film range

AGFACOLOR AGFACHROME AGFAPAN AGFA

OPTIMA II OPTIMA II OPTIMA II PORTRAIT ULTRA RSX II RSX II RSX II APX APX APX SCALA
100 200 400 XPS 160 50 50 100 200 25 100 400 200x
ISO 100/21° 200/24° 400/27° 160/23° 50/18° 50/18° 100/21° 200/24° 25/15° 100/21° 400/27° 200/24°
35 mm 135
1 x 24 • • • • • •
1 x 36 • • • • • • • • • • •
5 x 36 •
50 x 36 • •
17 m DP *** • •
30,5 m DP *** • • • •
Roll films 120
1 × 120 • • • • • • • • • • •
5 × 120 • • • •
50 × 120 • •
Roll films 220
5 × 220 • •
Sheet films *
6,5 × 9 cm
21/2 × 31/2 inch •
9 × 12 cm
31/2 × 33/4 inch • • •
10,2 × 12,7 cm
4 × 5 inch •** •** • •
13 × 18 cm
51/8 × 71/8 inch • • •
20,3 × 25,4 cm
8 × 10 inch • •

Ranges vary from country to country.

* AGFACOLOR / AGFACHROME: 10-sheet packs

AGFAPAN: 25-sheet packs
SCALA: 10-sheet packs

Printed on oxygen-bleached paper.

** Also available in 50-sheet packs
*** DP = bilateral perforation

Technical Data PF
Date: 09/1998
1st edition

Agfa-Gevaert AG
Anwendungstechnik Foto
Postfach 10 01 60
D-51301 Leverkusen
Internet: [Link]

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